Lighting for painting and viewing figures

[NigelR]

I have had problems in the past with lighting for figure painting. After a lot of experimentation, I have put a daylight LED bulb in the main room light (so a 5500K one rather than the usual "warm white") and I use a dimmable LED desk lamp from Native Lighting that is also 5500K. I make sure this isn't set too bright and I use the blinds to my hobby room keep out bright sunlight and only let in a diffused natural ambient light.

However, I was out a show today and my latest vignette (which I thought looked quite good at home and photographed very well with no post-processing) looked very flat and uninspiring. Very disappointing in fact. OK the lighting wasn't great but the difference between what it looked like "at home" and "in the wild" was stark.

I like to take my models to shows, so what do you suggest and what do you do? Should I have a less "sterile" lighting environment and maybe something closer to "typical" lighting that I will face at shows? How do you light your painting environment?

 

[Mike - The Kiwi]

Looking forward to replies in this myself Nigel.
I too use strong lighting to paint by & see what I’m doing.
But out in natural light & normal room lighting much of detail/contrast not as evident.
Perhaps setup your own small LED to present figures under?
MikeTheKiwi

 

[NigelR]

Looking forward to replies in this myself Nigel.
Perhaps setup your own small LED to present figures under?
MikeTheKiwi

Something I have thought about Mike. We have some LED strips in our display shelving which helps a little, but for figures I would more directional lamps. My figures are always part of a larger display of other models so it would be hard to do this. Getting access to power can be challenging at some shows, although I might investigate some of the rechargeable LED lamps. Maybe some of the clip on ones might work.

I know some figure painters that enter competitions are very sensitive about the lighting of the competition area, and the big shows like SMC and WME have LED lamps over the competition area. But in my world I have to deal with less than optimal lighting.

 

[Blind Pew]

This is an issue that goes back years. When you consider that 99% of figures are most likely painted in small rooms with artificial lighting, it can become a real problem if a competition is held in a big, open, naturally-lit hall. A good example could be the old Euromilitaire, with it's floor-to-ceiling glass walls with uncompromising sunlight streaming through.
Having considered that my figures will spend over 99% in an Ikea display cabinet, I paint mine under Ikea LED lights, I've found this helps.

I do agree. When a change in lighting source makes your work look awful, it's soul destroying. The same can be said of digital photography, which again, can be very unkind.

 

[Babelfish]

When a change in lighting source makes your work look awful, it's soul destroying. The same can be said of digital photography, which again, can be very unkind.

That is very true, but it can also work the other way: I've seen some figures & models done by recognised maestros that look spectacular in online photo shoots or in mags, but up close at shows and with nowhere to hide, they've looked "merely" very good.

Also, very few models can withstand intense photographic magnification. Even those done by the top guys will rarely appear flawless if you blow up the images too much. Basically if you look at any finished figure too forensically, you'll be able to find fault with it somewhere.

I'm guilty of it myself sometimes: I'll look too closely at something I'm working on, decide it's crap and then either Dettol-bath it and start again or consign it to the Shelf Of Shame for an indeterminate period of time. But given that our work will almost only ever be subjected to viewing by the Mk. 1 eyeball, maybe we shouldn't be too harsh on ourselves or get hung up on these things too much, lest we lose faith in our abilities.

Interesting thread.

- Steve

 

[NigelR]

That is very true, but it can also work the other way: I've seen some figures & models done by recognised maestros that look spectacular in online photo shoots or in mags, but up close at shows and with nowhere to hide, they've looked "merely" very good.

This is kind of where I ended up. While I would in no way claim to be a maestro, my recent vignette photographed very well. I photographed it under the same lights I paint with and didn't do any post processing, I just added some sharpness but didn't change anything else like white balance, exposure comp, colour saturation etc. Even in extreme close up I was very happy with how it turned out. But out in the wild it just looked OK. Some the slight differences in the finish of the paint (some bits a bit less matt than others) were much more obvious, whereas these don't show up in the photos. The brushwork didn't look as smooth as it does under the home lights.

I guess this is a bit like NMM, which looks great in static, well lit photos but can look a bit odd when viewed in normal conditions.

I have today swapped the 6000K bulb in my hobby room for a normal "warm white" temperature bulb so that I get the background ambient light from that while still painting under the LED task light. We'll see if that makes any difference......

 

[David Spencer]

For painting figs, I only use daylight. In a south-facing conservatory. Have not got along with artificial light except for applying basic base colours.
It's noticeable that my efforts look best in the daylight; probably because that's where they're painted. I know what you mean about electric lighting being variable. Personally I regard it as functional and nothing more, but plenty of others achieve great results in that environment.

As for photography: I'm hopeless.

 

[Ferris]

Problem with ‘surround light’ is that it is coming from many directions: windows, ceiling lighting, even refections from white surfaces. If the figure is painted based on zenithal lighting, the natural light in the room and the painted lights are not in harmony. Areas in shade based on zenithal lighting may suddenly be illuminated more than areas painted as zenithal highlights. This messes up the painted contrast and gives a very unattractive result.

This cannot really be solved other than by installing proper lighting (usually meaning zenithal light) in the display area. Or by painting in a very low contrast style.

Adrian

 

[NigelR]

Problem with ‘surround light’ is that it is coming from many directions: windows, ceiling lighting, even refections from white surfaces. If the figure is painted based on zenithal lighting, the natural light in the room and the painted lights are not on harmony. Areas in shade based on zenithal lighting may suddenly be illuminated more than areas painted as zenithal highlights. This messes up the painted contrast and gives a very unattractive result.

Interesting, thanks for this Adrian. This may be what I experienced. I tried to be a bit more zenithal with my latest vignette (not something I have ever really tried before) and that may be why they look good in photos but less good in complete "surround" light. The previous work I did (the Red Trousers charge) was painted without a zenithal approach and to my mind looks more like it does "at home" when it is on display at a show.

I think if I am doing work that will be displayed at shows with less than optimal lighting it's probably best to stay away from the zenithal approach.

 

[Nap]

Great thread Nigel personally I use daylight lamp but really need to get something better

Interesting comments here so worth following

Happy lighting everyone

Nap

 

[NigelR]

I have signed up for one of these: https://www.redgrasscreative.com/redgrass-r9-desk-lamp/

Best part of £200 but it seems to be the best out there, especially in terms of CRI. As I get older my eyesight is getting weaker so I reckon investing in good lighting is essential. But it still doesn't solve the issue of "at home" vs "show lighting".

I changed the main bulb in my hobby room to a 100W equivalent 3000K LED bulb (I was previously using a 5500K daylight bulb). This does seem to help approximate poor show lighting. So I'm painting under the LED task lamp but then checking the work in just ambient light (from the 100W bulb and diffused daylight) so that the difference isn't too great. We'll see how that works out......

 

[Alex]

Interesting topic. I do not use any desk lamp when I paint.
The walls of my studio are a light neutral grey and I use ceiling fluorescents with a CRI of 98. The room is plenty bright.
My figures look pretty much exactly the same whether inside the studio or outside on a sunny day.
Too much incident light coming from a near desk lamp will distort your perception when painting.
The fluorescents have a diffuser so I'm really painting under indirect lighting.
I would go with exactly the same system if I had to do it again (switching to LEDs with the highest CRI possible).

 

[NigelR]

Interesting topic. I do not use any desk lamp when I paint.
The walls of my studio are a light neutral grey and I use ceiling fluorescents with a CRI of 98. The room is plenty bright.
My figures look pretty much exactly the same whether inside the studio or outside on a sunny day.
Too much incident light coming from a near desk lamp will distort your perception when painting.
The fluorescents have a diffuser so I'm really painting under indirect lighting.
I would go with exactly the same system if I had to do it again (switching to LEDs with the highest CRI possible).

Thanks for sharing what you do, fluorescent lights are good because of the high CRI. I could not find any commercially available LED bulbs that had a high CRI. That's why I went for the Redgrass desk lamp because it has a very high CRI across 15 colours.

I used to paint using an LED desk lamp with built in magnifier but the results were awful because the LEDs were too bright and too close to the model, exactly for the reasons you state. I now wear an optivisor and have the desk lamp higher up and not on a very bright setting. But I still need to tweak the balance between the task light and the ambient light.

 

[MalcC]

I have signed up for one of these: https://www.redgrasscreative.com/redgrass-r9-desk-lamp/

Best part of £200 but it seems to be the best out there, especially in terms of CRI. As I get older my eyesight is getting weaker so I reckon investing in good lighting is essential. But it still doesn't solve the issue of "at home" vs "show lighting".

I changed the main bulb in my hobby room to a 100W equivalent 3000K LED bulb (I was previously using a 5500K daylight bulb). This does seem to help approximate poor show lighting. So I'm painting under the LED task lamp but then checking the work in just ambient light (from the 100W bulb and diffused daylight) so that the difference isn't too great. We'll see how that works out......

That is some lamp.

Malc

 

[Ronaldo]

Problem with ‘surround light’ is that it is coming from many directions: windows, ceiling lighting, even refections from white surfaces. If the figure is painted based on zenithal lighting, the natural light in the room and the painted lights are not in harmony. Areas in shade based on zenithal lighting may suddenly be illuminated more than areas painted as zenithal highlights. This messes up the painted contrast and gives a very unattractive result.

This cannot really be solved other than by installing proper lighting (usually meaning zenithal light) in the display area. Or by painting in a very low contrast style.

Adrian

I notice Cartacci paints in very low contrast

 

[MalcC]

I have signed up for one of these: https://www.redgrasscreative.com/redgrass-r9-desk-lamp/

Best part of £200 but it seems to be the best out there, especially in terms of CRI. As I get older my eyesight is getting weaker so I reckon investing in good lighting is essential. But it still doesn't solve the issue of "at home" vs "show lighting".

I changed the main bulb in my hobby room to a 100W equivalent 3000K LED bulb (I was previously using a 5500K daylight bulb). This does seem to help approximate poor show lighting. So I'm painting under the LED task lamp but then checking the work in just ambient light (from the 100W bulb and diffused daylight) so that the difference isn't too great. We'll see how that works out......

Nigel.
I've been on the website, but can't find how to place an order for one.
Had a look in the Store section, but it isn't there.
Please can you advise.

Malc

 

[NigelR]

Nigel.
I've been on the website, but can't find how to place an order for one.
Had a look in the Store section, but it isn't there.
Please can you advise.

Malc, it's not actually available to buy yet. I signed up on their Kickstarter campaign which means I will get one of the early production batches around August time. They should be available for general purchase on their website later in the year. I'll post a review once I have mine.....

 

[MalcC]

Malc, it's not actually available to buy yet. I signed up on their Kickstarter campaign which means I will get one of the early production batches around August time. They should be available for general purchase on their website later in the year. I'll post a review once I have mine.....

Thanks Nigel
I'll look forward to your review.

Malc